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Artifacts From Tirisea
Once, every so often, one of us will get the crazy idea to create some work of art or piece of writing that is supposed to be derived directly from a culture or brain on Tirisea, rather than, say, some writing about Tirisea such as summaries, . This page is intended to accumulate those works, listed by culture of origin. Amalgama Seduction Through Outrage By Daneel Olivaw (purportedly, anyway) About the poem: This poem was ostensibly written by Daneel, the founder of the Collective itself. There is a lot of debate over why exactly he wrote it- he was a cooky man to be sure- but the running story is that this was a response he wrote to a woman from Mura'kesz demanding to know why he was such a lewd old man. A lot of people in The Collective find the poem hilarious. And then thee are some who consider it... less than diplomatic. :) cough Dal'evrin cough. ' Part of the reason for this is that the poem is not just recited. It is often ''performed with a few key gestures. These have been marked, though some performers, much like actors and stage directions, will add in their own. Sometimes it is acted out with a person of the opposite gender doing silent pantomimes along with the performer. There is also a good deal of debate about what some parts of the poem mean. To some this is a subtle, mocking litany about the perils of fearing ones own body, comparing the voice and the actions of the body and mind to intimacy beyond mere physical contact. To others this is a silly little poem about someone trying to convince a rather conservative outsider to sleep with them. '''In Campaign: '''Turned out to be a secret poem that can, thanks to enchantment laid down by Daneel, rotate Daneel's Peak to remove the Ascendant Dal's tower from the anchor that keeps it hidden away in the folds of time. '''Seduction Through Outrage My dear precious muse, Me you do abuse, With all you refuse. Candies and sweet cake, And songs by the lake; Of these you partake! But a simple kiss You find remiss. O how you chide me, And always snidely, Remarking idly, On my interest. So at your request, Nay- your firm protest, As bound by steel bands. I'll keep my hands. (Hold hands as if bound together, leaning away from secondary performer if present)' But see here, my dear, I do often fear, You're less than sincere. I see fire in you! A desire to do The same I long to. What your words contempt, Your eyes attempt. ''(Secondary performer may actually slap here. Either way, performer reels back as if struck)'' A slap in response. In clothes you ensconce. You think me some ponce. Treasures hid away, In those folds they stay, But know my dismay. I contempt this taboo, And so ought you! '''(Vigorous pointing) (Artful, uplifted, almost singing pose) A voice puts out more, Of life, lust and love, Than figure's allure. A song flies above, Mere earthly decor. So speak to me of, The truth and fiction. Benediction! (Benediction said as if in ecstasy. That is the point of the joke, after all.)' And in your actions, Love, hate, music, art, Are warring factions, Of your hidden heart. Not just abstractions, But parcel and part. Voice and deed are thus, So why the fuss? It's as if some hex, Were upon all sex, If but sight can vex. Why the fearsome ban? I reject this plan! We are much more than, with our inner arts, The sum of parts! '(If you go with the lewd version of the poem, grab your genitals here. If you're a woman, your boobs will do as well.) If you must, adorn. Meet my skin with scorn. Stand hidden, forlorn. Keep thy face and go. Myself not to know, Why you'll never show. But you can't protest! My hand. Your breast. (Lewd grasping motions. Or a gentle hand to the other person's heart, depending on your interpretation.)